Any brand I deem worth it, can find loyalty in me. The inverse of this is also painstakingly true. So when l endorse something, I’m undoubtedly in.

Madewell, sister company to J. Crew and creative directed by unconventional “it-girl” Alexa Chung, has been my recent muse. Their designs are exceptionally modern, practical, and made well.

Denim by Madewell

My first post to this blog a few months ago, highlighted my first Madewell purchase, 'boy jeans.' Since then, I’ve purchased four additional pieces, and currently eyeing another two. All, incredibly unique staples, and most, I’ve already worn countlessly and they're still in pristine condition.

When on a budget, it’s not always easy to justify a $100 pair of denim pants or a $50 skirt, however the quality of wear speaks for itself over time. When I find a design flattering, I reach for it constantly, so durability is a huge selling point. I am also a firm believer in buying less clothing worth more, so naturally, Madewell targets me. Designs are practical, yet unique enough to warrant appeal despite cost, i.e., value.

I am no official ambassador just yet, but I am a person who likes and buys their clothes. There’s never not a sale or an incredible curated display. They always find a way to both highlight the quality of their sourced material, and appeal to the diverse werabilty of any Madewell item.

Stage lights dim as the audience jolts into a collective scream for this cosmic journey. One-by-one, bandmates run out on stage. As soon as the last takes their place, Soley enters singing “Rise.” As audience cheer turns into attentiveness, her sultry mellow tone lulls us all into “Weary.” This would be one of many amazing sonic transitions throughout the night, and one of the most incredible live performances I’ve ever witnessed.

Solange, by Greg Noire for ACL Fest

This past Sunday night, I made my way to 787 Windsor to see Solange live at Afropunk Atlanta. This was her first time performing in Atlanta since A Seat at the Table, and being witness to this moment is easily one of the best decisions I’ve made this year. There’s something special about Solange that brings out the desire in me to be my best Black self. More importantly, her validity as an artist gives light to young Black girls to embrace the creativity within them too frequently dimmed.

Solange songs hit like anthems. It was as if the crowd dissipated and I had an open dance floor to myself. Nothing mattered. Whether or not I fell off that one inch step ladder I hopped a fence to stand on, nothing else mattered. As she belted out the closing ballad of “Bad Girls,” eyes to the sky, I couldn’t believe I was actually witnessing one of my biggest influences.

As I stared off, she met my thought, encouraging everyone in the audience to put away their cellphones, look around, and take in the present moment.

Her nuance and, to borrow a phrase from the effervescent writer Wesley Morris, “glorious specificity” is relentless in its communication. No moment is lost for her in communicating true artistry and brilliance. Just before posting the feature image for this piece, I noticed that the way the light hits her in the image resembles that of a 3D print. As in, on certain devices, you may be able to look at a photo you haphazardly shot at the concert, and see Solange in full 3D glory. No moment lost. Sheer perfection, undeniable brilliance. Soley’s artistry hits you at every angle.

Solange, by Greg Noire for ACL Fest

Her artistry also unfolds in her respect for other artists, particularly her all Black bandmates. Their camaraderie was felt from the pews. They didn’t miss a beat as her biblical Sunday morning references rang in our spirits, as familiar as an old hymn, or a Michael Jackson song. Before she segued into “Some Things Never Seem to F*****g Work,” she sampled “The Way You Make Me Feel,” which I realized was a musical overlap already present on the album, True.

A collective and somber hum is felt in a Solange rhythm and even more so in her approach to a live show, a quiet validation. There were numerous times where she was only visible to the front row as she interacted intimately with the crowd. Whether she shouted you out for knowing all the words to a decade old track, or simply complimented your energy, it was a performance for us. The collective ‘us’ referenced in “F.U.B.U.,” and also, the collective us that filled that outdoor space. As I left the show almost skipping down the sidewalk, I smiled at the young man on the street corner playing his trumpet, and chatted in passing with the young girl and her father selling water. As they hailed me back for a free bottle, I look up to the moon and utter in full satisfaction:

A completely captivating Kelela stopped me in my tracks at an Afropunk Fest in Brooklyn once. A few years ago when I was a Kelela virgin, I saw her and immediately gravitated my attention, only she wasn’t on anyone’s stage. She was walking in the audience, casual as ever. She caught the attention of many photographers, but I figured it was only because of her sick outift and a then recently shaved side loc-bang situation that was absolutely immaculate. Her presence speaks loudly to many. A many that includes an array of incredible soulful and talented friends and collaborators. By the time Kelela hit the stage (just prior Goldlink and after Raury), I was sold.

It’s shocking to me that Kelela hasn’t actually released an album, until now. Take Me Apart is her first studio album with Warp. In much anticipation, I awaited Take Me Apart. A rarity for me because ironically, I am often a slow moving slug on the music train (I listened to Channel Orange for the first time in 2016 and Yeezus was my first time really digesting a Kanye album). What can I say? I break rules.

Assuringly going to enjoy this well awaited and much anticipated listen. Kelela is not one to disappoint in any way. Moreover, I’m going to enjoy this reimagined space for true R&B in 2017.

Album art

The pre-released tracks are in typical Kelela fashion, referencing “Guns and Synths,” her signature style, and first title track. Synthesizing is unavoidable when tuning into her sound, which blends classic R&B with experimental nods. It's an ambiguous yet perfectly deliberate genre of musical symphony. It's incredibly immersive. Tracks like "Enough," "Might," or "Waitin'" exemplify this.

“Frontline” offers the full rythym and blues marriage to her synths style. References to the 90s and 00s are riddled sonically and lyrically all over the track. “LMK” offers “Rewind” vibes repackaged and refined.

I am a black woman, a second-generation Ethiopian-American, who grew up in the ‘burbs listening to R&B, Jazz and Björk. All of it comes out in one way or another.

blog archive

From may 2012- m. 2017, I posted sporadically to a very simple & very free Blogger account. Whether you'd like a deeper understanding of my writing or to have a glance at some cute imagery, here's a PDF link to some of my past posts. Enjoy.